When the clock struck 12:00 this morning Radiohead fans clamored to their website and downloaded their new album In Rainbows in record numbers, causing the server to crash as expected. With a digital copy safe in my clutch I, at the same time as any music critic in my time zone (no promos for the big mags), will listen to the album.

Radiohead, without a label, have released an album where the consumer names the price (I paid $8), with all marketing done in a respectable fashion (read: no media schlepping).

Without further ado here’s the track-by-track review of In Rainbows:

“15 Step”

Right upon the first flurry of beatwork on “15 Step” its noticeable that Radiohead’s cold, terse electronics - paging Kid A - have been ditched for the brighter corners of IDM. Tinny drum machine beats (reminiscent of Autechre’s “Dael” from Tri Repetae - an opener as well) dart and shuffle around Thom Yorke, whose lyrics are far less oblique here than on past recordings (mentions of natural progression are abound). Nothing groundbreaking, but a cryptic listen nonetheless.

Pundits may call “15 Step” a slightly-too-light version of “Idioteque”; while the comparison to the most brittle of Radiohead’s tracks may not be far off the mark, it doesn’t do “15 Step” full justice. As a frayed, sunrise-type of opener the song succeeds. It would fit snugly into Hail to the Thief’s tracklisting, which can mean a number of things depending on your opinion of that album.

“Bodysnatchers”

The simplicity of “15 Step” rears its head on “Bodysnatchers,” a more colorful attempt at the midtempo chug-along. Distorted, multi-tracked guitar (courtesy of Jonny Greenwood) muddies up an otherwise by-numbers Radiohead affair, complete with a rambling Yorke and slippery bassline.

The ending coda teases the structure to a fine degree, echoing the frazzled and fried jangle of “Electioneering” from OK Computer. Satisfying but curiously lacking, to be honest.

“Nude”

Like it or not, Radiohead’s strongest suit are their spooked-out ballads, and “Nude” is no exception. Taking a page from the songbook of astral-projection mavens Kayo Dot (their less aggressive side, of course), “Nude” festers in its stark, cosmic atmosphere - a slow bloomer of a song.

Delicate enough to collapse at any moment, “Nude” lightens the burden of In Rainbows‘ first couple of same-y cuts. It’s easily one of the album’s high points.

“Weird/Arpeggi”

Ah, the sound of a natural drumkit!

“Weird/Arpeggi” opens up with the propulsive, metronome-precise drumming of Phil Selway, which is coupled with Greenwood’s simple but lovely guitar plucking. Worming around the instrumentation is Yorke’s distant, odd words. Pinning Radiohead down to a specific “sound” is troublesome, but this is as traditionally “Radiohead” as I’ve heard from the camp since Hail to the Thief’s “There There.”

All in all “Weird Fishes/Arpeggi” is another standout from In Rainbows; it also blends seamlessly with the former song, “Nude.”

“All I Need”

Yorke seems positively obsessed with incests on In Rainbows - the full jist of the album’s lyrics will be unearthed after a few spins - as “All I Need” continues the slimy vocal trend exemplified on “Weird Fishes/Arpeggi.” Even with the buggy concept intact “All I Need” is a much heavier song, lumbering along on a deep synth offset by twinkling Glockenspiel.

The only negative aspect of “All I Need” is its uncanny resemblance to Radiohead’s doppelganger, Coldplay. While its far better than any saccharine Chris Martin and Co. would spin, it’s damn close to being a tad sappy, weighed down by its heavy use of orchestra strings.

“Faust Arp”

A warbling extension of “All I Need,” with more refinement in the instrumentation. An anomaly of a song. One of In Rainbows best tracks, plunging deeper than most of the cuts in half the time.

“Reckoner”

I’m slightly nonplussed when it comes to “Reckoner,” the most percussive-heavy track on In Rainbows. Featuring Yorke’s superb falsetto, the song slowly builds up to an anti-climactic ending. It sounds as if the ending of “Reckoner” got mistakenly clipped off and left on the cutting room floor. “Reckoner” could’ve used a payoff to its lengthy build up.

“House of Cards”

A close buddy to “Reckoner” - all pretty repetition and no surprises. I hear a slight glint of happiness in “House of Cards” but Radiohead’s downer demeanor shines darker, if you get me. Wouldn’t have sounded out of place on Yorke’s The Eraser.

“Jigsaw Falling Into Place”

A nice departure after the last two tracks, “Jigsaw” even one-ups the sunny disposition of “House of Cards” with a simple, shimmering guitar line. Previously titled “Open Pick,” the new title makes more sense, as its whole is bigger than its parts. It acts as a wonderful lead-in to the final song as well.

“Videotape”

The best is saved for last. Radiohead have a penchant for saving their most lush and epic songs to close out their albums, and “Videotape” is no exception. A gorgeous swelling up of melody and guitar recalls stone-cold classics like “No Surprises” and “Street Spirit,” even if it doesn’t quite reach those impossibly-lofty heights. Still, an impressive adieu.

In Rainbows may not turn the music world on its head as much as the business model that launched it, but it’s still a worthwhile collection of songs that will leave you endlessly hypothesizing Radiohead’s musical future - just like the last time.